Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Print copy of an original performance photograph of Robin Vanser (Vandersluys) in performance at the Kew Civic [Town] Hall with Lennie Holmes FourKew Town Hall c.1963 | Robin Vanser (Vandersluys) | Lennie Holms Fourperforming arts - australia - 1960s, robin vanser, kew civic hall - kew town hall

Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Print copy of an original performance photograph of Robin Vanser (Vandersluys) in performance at the Kew Civic [Town] Hall with Lennie Holmes FourLennie Holmes Four | Kew Town Hall | c.1964 Kew Town Hallperforming arts - australia - 1960s, robin vanser, kew civic hall - kew town hall

Until 1960 there were no telephones in Falls Creek. The only access to a phone was at Rocky Valley Camp where the State Electricity Commission (SEC) had an extensive network to Mount Beauty, Bogong and the other camps such as Clover power station and Howman's Gap. There were test points with a phone beside the road where contact could be made to the office in Mount Beauty. The SEC was unconcerned about Falls Creek, so no power was connected until 1960 when Tom Mitchell aired the matter in parliament. Tom was a keen skier. He applied to the Post Master General who was then responsible for telephones as well as mail. The PMG staff came up from Bright and installed an exchange in Diana Lodge. There were only about 15 lines to a post across the road uphill about 20 metres. It was from here that you could put a line from the building into a box where connections were possible. You had to buy a cable from the disposal store. It needed to have an alloy of copper and steel in the wire similar to what the army had used during the war. If the phone failed the owner would have to find the break in the wire, not an easy task in the heavy snow. Then came the telephone itself. Falls Creek was given old-fashioned sets with a hand wound magneto to ring the bell at the exchange. When the operator answered she could then plug a line into another phone line or the exchange in Bright. In the phone were two dry cell batteries that carried the spoken word to the other phone connected. Trunk lines were expensive then, so each trunk call was timed by the minute. The operator would disconnect you after a minute if you did not reply to her question "are you extending?". These telephones were donated by Julian Newton Brown. Julian's Lodge Arundel was known as Falls Creek 11.These telephones are significant because they illustrate the earliest form of technology available to connect Falls Creek Village to other areas.Telephones constructed of polished wood, brass bell, handles and cabling. Designed to operate through a telephone exchange. They operated on two dry cell batteries.Attached to front of telephone: Instructions on how to make or receive a call.falls creek village, falls creek communicaton

Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Audio recording of performances of classics by Robin Kelly including tracks recorded at the Melbourne Town Hall.robin kelly, performing arts - victoria - australia

Poster of the 2012 Essendon players and coachesColour poster of the 2012 Essendon players and coaches. Players are in sleeveless Essendon jumpers, black shorts and white boots; coaches are in grey short-sleeve shirts and black shorts. Players and coaches are standing and sitting in four rows; large "2012" in background, "Essendon Bombers" in large red text across top, Essendon logo in centre at bottom with premiership years on either side; names in small print at bottom of poster; Essendon, Melbourne Airport, Kia and True Value Solar logos in bottom corners. Reverse has printed names, numbers and signatures. > Back row: Sam Lonergan, Jake Melksham, Dyson Heppel, Anthony Long, Ariel Steinberg, David Myers, Tayte Pears, Nathan Lovett-Murray, Stewart Crameri, Michael Hibberd, Brent Prismall, Jason Winderlich. Third row: Mark Thompson, Simon Goodwin, Michael Ross, Ben Howlett, Kyle Hardingham, Jake Carlisle, Scott Gumbleton, Cale Hooker, David Hille, Thomas Bellchambers, Dustin Fletcher, Patrick Ryder, Luke Davis, Alex Browne, Kyle Reimers, Matthew Egan, Sean Wellman, Dean Robinson. Second row: Alwyn Davey, Leroy Jetta, Ricky Dyson, Angus Monfries, David Zaharakis, Brent Stanton, James Hird, Jobe Watson, Mark McVeigh, Heath Hocking, Michael Hurley, Courtney Dempsey, Henry Slattery. Front row: Elliott Kavanagh, Mark Baguley, Cory Dell'Olio, Brendan Lee, Hal Hunter, Jackson Merrett, Lauchlan Dalgleish, Nicholas O'Brien, Travis Colyer. essendon football club; sam lonergan; jake melksham; dyson heppell; anthony long; ariel steinberg; david myers; tayte pears; nathan lovett-murray; stewart crameri; michael hibberd; brent prismall; jason winderlich; mark thompson; simon goodwin; michael ross; ben howlett; kyle hardingham; jake carlisle; scott gumbleton; cale hooker; david hille; tom bellchambers; dustin fletcher; paddy ryder; luke davis; alex browne; kyle reimers; matthew egan; wellman, sean; robinson, dean; davey, alwyn "froggie"; leroy jetta; ricky dyson; angus monfries; david zaharakis; brent stanton; james hird; jobe watson; mark mcveigh; heath hocking; michael hurley; courtney dempsey; henry slattery; elliott kavanagh; mark baguley; cory dell'olio; brendan lee; hal hunter; jackson merrett; lauchlan dalgleish; nicholas o'brien; travis colyer

The Album was compiled by Nancy McHaffie late 1990's, with the assistance of Edith Jeffery's, with her book "Garden of Memories" and extensive knowledge of Phillip Island. The Cemetery lies back from the road and is surrounded by Manna Gums, rare Peppermint Gums, Blackwoods and other native trees. In all 25 acres of land were set aside as Crown Land in the land settlement of 1868. There are 6.2 acres of wetlands near the cemetery entrance.466-44: Captain Johan Jansson. Capatain Jansson was born in 1862 and came to Australia on the ship "Nosstaljee" in 1886. In 1887 he came to the Island and started work with Captain Lock. He bought land at Rhyll in 1891 and built a house two years later, now known as Jansson's Cottage. Johan married Evelyn Power.. a daughter of Captain Powell. He purchased the ketch "Swan" and later :Stephen" in 1914. They took chicory, seaweed, hay and other farm produce to Melbourne, returning with general cargo. Captain Jansson died in 1928 aged 66 years. 466-45: Evelyn Jansson. Evelyn was the daughter of Captain Powell. She married Johan Jansson on her 18th birthday. She died 1971 aged 95 years. Their daughter Mavis is buried with Evelyn - died 1971 aged 72 years.phillip island cemetery, johan jansson, evelyn jansson, mavis jansson, nancy mchaffie, edith jeffery

Three soft covered Magazines - the Ballarat School of Mines Students' Magazine for 1953-5. .1) 1953 - The Coronation Number. Articles include: The Mining and Metallurgy Congress, Aboriginal research, Power from Water, Engineering Etiquette, Australian Art Images include: Queen Elizabeth 2, Ballarat Junior Technical School winning the Marching Competition, competitors in the Redex Trial. .2) 1954 - Articles include: Eureka Stockade; Working in East Africa and Canada, Greece, Images include; Craig's Hotel, Eureka Swimming Pool; Barry Jones, Harold Everett, "Tailspin" Taylor, Pastoral Skipton, Margaret McGregor, Nancy Rimmington, Janice Tonkin, First Roll Call in Girls' Junior Technical School .3) 1955. Articles include: Tales from Malaysia, Literary Society Images include; Craig's Hotel, Signatures: N.H. Andrews; J. Skuja: Alan E. Johnson, B.V. McDougall, L.J. Mathews, Daryl Schmidt, J, Collierballarat school of mines, tinney, faneco, jim john, dean, spiers, ngip, barrie smith, stewart rowe, elaine walton, stevens, max stevens, sawyer, ann mitchell, flavel, ingleton, bethune, blackburn, boag, brokenshire, carmichael, kirby, kinnane, alec kinnane, ludbrook, meagher, searl, sheppard, gillin, murray gillan, archer, beattie, bautovich, benjamin, buck, bunting, athol day, eddie, habel, heyes, maddox, phillips, schreenan, donald stevens, tinissen, whitcher, ian whitcher, mccallum, ryrie mccallum, marching competition, skuja, wilton, neil andrews, ellen freemantle, alan johnson, willey, graeme willey, mainwaring, diana mainwaring, mcdougall, little, margaret little, lance matthews, philp davis, eureka stockade, eureka swimming pool, pools, swimming pool, restarick, kempe, barry johns, harold everett, taylor, holmes, wendell holmes, skipton, john collier, collier, daryl schmidt, chris sanos, greece, andrews, doull, everett, seong, lockhead, pitzen, watts, technical school, junior technical school, girl's junior technical school, ballarat girl's junior technical school, baxendale, stan kisler, graham willey, murray, jim murray, grundell, cleland, furlog, ron furlong, judy johnson, russ whitcher, anita young, durant, malaysia, literary society, thurling, andrewartha, barnes, ditchfield, peter ditchfield, dunlop, kisler, mcneil, orgill, quinlan, saggers, bill saggers, seabrook, williams, paddle, graham, handmer, hetehrington, dow, pine, ballarat north junior technical school, william saggers

Newspaper clippings relating to the Ballarat School of Mines and its students. This also includes the Ballarat Junior Technical School and the Ballarat Girls' Technical School. Selected items * Courier 27 May 1961 - Apprenticeship - Training Today for Tomorrow * Courier 22 February 1922 - Hopes for University Education in 1963 * More Women Graduates Needed * 30 July 1963 - Linking Technical and Liberal Education Streams * Courier 2 November - SMB's New Role in New Syllabus * 23 November 1963 0 New School Diploma courses explained * Courier 31 March 1964 - Artists and art critics: What young people thought of art show. * The Age, 25 March 1965 - Martin Report Urges Extension of High Education * Courier 11 June 1965 - Nuclear Power Won't be Missedr.w. richards, dick richards, john gilbert, ceramics, e.w. doney, antarctica, city of ballarat craftsmen certificates, scrap book, ken wach, bjts fees register, allen bourquin, p. collier, j. crisp, john dulfer, fenner, charles, gillin, murray, gray, thomas, j. graham hopwood, hunting, f, wesley lancaster, landells, r., lochhead, j.s., lochhead, james, mctaggert, mavis, mcvitty, henry moritz, moritz, henry, kathleen rice, albert w. steane, stevens, don, kenneth wach, ian g. whitcher, noel whitcher, a.m (bill) wilkinson, harold yates, international students, asian students, richard tan, jack tay, andrew vu, zulkilfie h. abdullah, sebastopol technical school foundations, charles fenner, e. elsbury, c. o'toole, w. lancaster, v. nicholson, douglas vendy, richards medal, william hudson, a.j. bethune, ballarat school of mines workshops, m.y. jamagagni, peter agrums, thai, j. boonsoong, h. trudinger, kevin whiter, brewery chimney, murray gillan, don stevens, bella guerin, hester darby retirement, rubie lonie, cadets, f.g. procter retirement, albert coates, d.e. richardson, lydiard st closure, geoff brown, neville bunning, walter reimann, robert norton, jill norton, b. bryan, kaspars bitans, martin report, edith lawn, mavis mctaggart retirement, richard chong, zulkiflie h. abdullah, alumni, ian whitcher, l.f.j. hillman, h. elliott, hester darby, duke of edinburgh, philips electrical industries pty ltd, lois morris, ballarat school of mines banner, embroidery, craftsman certificate, technical training week, apprenticeships, 3rd university, generator, j.j. skuja, sebastopol technical school, pine plantation, art students, centenary medal, bathtub race, tippett hall, bath tub run, metallurgy, lydiard street closure, honor blazer, soil studies, rolls royce car engine, jon rowe', allan bourquin, ruby loney, lindsay hillman, yates geological centre, geoffrey mainwawaring, ballarat school of mines renovations, ross gray, casper bitans, apprenticeship training, boat race, apprenticeship week, f.g. proctor, mount clear site, john jungwirth, ballarat school of mines open night, wayne johnson, j. hanford stevens, peter richards, r.c. chan, mavis mctaggert, gladstone procter

McColl Rankin & Stanistreet, The Australasian Institute of Mining & Metallurgy, Melbourne. a/ No. 3 Haulage and Servicing Shaft: Shaft-Sinking A. b/No. 3 Ventilation Shaft: Shaft-Sinking Equipment C. c/ Architectural Design and Treatment of Surface Area and Buildings C. d/ Electricity and Compressed Air Power Supply to Surface and Underground Workings D. e/ No. 3 Shaft Winders and Winder House E. f/ No. 3 Headframe F. g/ No. 3 Breaker Station and Mullock Bin G. h/ No. 3. Change house H. i/ No. 3. Shaft Sub-Brace Area I. j/ No. 3 Services and Surface Areas J. All Supplements to Proc. The Aus. I.M.M., No. 182, Part II. Dated 1957. Published Quarterly by The Australasian Institute of Mining & Metallurgy Melbourne. Includes diagrams and maps.organization, mining, mccoll rankin & stanistreet, mining and metallurgy

Long term loan from Neurological Society of Australasia Museum of Neurosurgical Instruments , South Australia Catalogue with Historical Commentaries Second Edition January 2006 Copy located at RACS MuseumSTUART MORSON'S MECHANICAL INJECTOR FOR ANGIOGRAPHY. Stuart Morson(1913 - 1980) of Sydney had this injector constructed in or before 1952. It is said that it was not used much. The injector embodies two 10 ml and two 20 ml Record syringes coupled to a single delivery system. Each is operated by a piston. The pistons are driven from cylinders drilled in a metal block within the casing of the injector; the motive power must have been hydraulic or pneumatic pressure delivered through a manifold with taps allowing each syringe to be worked in isolation. The casing also contains two linked micro switches operated from a distance; it is unclear what was the role of these switches, and it is possible that a component of the unit is lost. JB Curtisl stated that a mechanical injector was devised in 1949 for serial angiography by his collaborator Schuster, but was not felt to be safe enough for use. For many years, neurosurgeons and neuroradiologists preferred to inject by hand.

The donor received the projector from a relative. He used it in the City of Whitehorse and surrounding areasWaterworth Slide Film Strip Projector, Model A - 300 watt, without a fan but with ventilating slots on top and an open bottom for air to flow. It has a carrying handle and a power lead with 3 pin plug which is wired in permanently. The projector lamp is at rear under the carrying handle. Image is projected through three stage lens via via the image on the 35mm strip or slide. The front lens is adjustable for focus. A knurled nut enables a height adjustment at front. Slides are inserted through the holder - whilst one slide is shown the other can be loaded ready to be slid in front of the light. The film strip holder is missing. The unit is finished in a grey hammer finish paint used in 1960 t0 1980s. The operating instructions are filed in the supplementary envelope. The projector is stored in a hand made three ply hinged box.Waterworth Hobart 5553Aphotography, projectors

Photocopy of an article in the State Electricity Commission of Victoria Magazine, Contact, Vol 1, No. 3, Nov. 1936 titled "Geelong Electric Tramways". Two A4 sheets. The article gives a short history of the development of the Geelong tramway system, replacement of petrol buses, extensions to Belmont, Chilwell and North Geelong. Gives track construction details, track renewals from 1924 (concrete stringers replacement), trolley wire, power supply (550V DC), rolling stock, Birney trams, services, fares, passenger numbers and the new SEC green uniforms. Has a photo of the Geelong depot with senior staff named and a photo of a tramwayman in the new Green uniform. Trams 27,30, 5, 23 and 6. Record revised 3/4/2019 to add digital images with those from Andrew Cook CD. Andrew notes the person in the photo could be Mr. Percy.trams, tramways, sec, geelong, trackwork, uniforms, track repairs

Yields information about a piece of the original equipment from the ESCo Ballarat power station.Colour photograph of the ESCo Wendouree Parade power station - DC face plate starter for one of the rotary converters - DC hand operated drum and multiple lever panel" - see Jan. 1998 issue of Fares Please! for details of the donation and a copy of the photograph as used. Photo taken by Warren Doubleday. Printed on Kodak Paper. Photo taken mid Dec. 1997. Photos of cabinet with doors opened and signs added 2/4/2018. Images .1 - Brookhirst makers plate with Patent Nos. .2 - Machine with doors open .3 - wiring diagram .4 - Brookirst cabinet latch at the bottom of the machine. .5 - Safety sign re opening the doors. .6 - bottom section of cabinet with cable found in machine .7 - top half of machine .8 - similar to .6 .9 - close up of the cable. See January 1998 Fares Please!esco, power station, rotary converters

Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Set of three black and white photographs from Keith Kings of the staged closures of the Geelong tramways. .1 - Geelong No. 4 - decorated as the Last tram, has a dash sign "Geelong Tramways No. 4 first car 1912, Last car 1956 Farewell", with the destination of Belmont. Photographed with power station in the background in Corio Terrace. 26/3/1956, KSK Photo (T)(e)(8). Printed on Ilford Paper. See also Reg Item 2667 and 4388 for a colour slide version of the same photograph. .2 - ditto - about to leave the depot - KSK Photo - T(g)(3) .3 - ditto - back at the depot - KSK Photo - T(g)(8)On the rear in ink and with the Keith Kings Copyright stamp: .1 - "Geelong - 4 - decorated as Official "Last" tram -26/3/56" - (T)(e)(8). .2 - "Geelong - 4 - illuminated as last tram Sun 26/3/56" - (T)(g)(3). .3 - "Geelong - 4 - last tram, back at Depot, Sun 26/3/56" - (T)(g)(8). trams, tramways, geelong, closure, depot, last tram, tram 4

Digital images of a set 8 pamphlets for the provision of a new sub-station at St Kilda Junction from early 2016 to late 2018 including architectural treatments of the building done after a lot of adverse criticism. .1 - Pamphlet - PTV049 - 17 - titled "Power Supply Upgrade Project" .2 - Update on the St Kilda Junction sub-station - has a project timeline - c April 2017 .3 - Letter to residents dated 13/4/2017, providing information and time for an information session. .4 - ditto 16/10/2017 .5 - ditto dated 28/11/2017 providing options for the facade. .6 - local community group report - JAAG providing information on the options put forward and why they were rejected. .7 - Architectural options by Jacksons Architecture .8 - Update on the St Kilda Junction Facade Project for completion late 2018.trams, tramways, substation, power supply, yarra trams, st kilda junction

Photocopy of Report - 32 foolscap pages - titled "The Prahran and Malvern Tramways Trust - Report and Statement of Accounts for Twelve Months ending 30th September 1918". Gives listings of Trust Members and Officers, lines opened, Rollingstock, power supply problems, Finance, Operation and General matters, statistics, finance statements, balance sheet and Auditors Report. Appendices includes the Engineers and Manager's Report, Statistics, accounts, funding, auditor reports and maps. Also covers concession fares for soldiers, purchase of tyre, battery maintenance, traffic at Victoria St bridge, Honor boards, arbitration and land for a storage site. Lists names of Employees who volunteered for active service, including those who volunteer but did not pass the medical test. Audited by Percy P Cook. See htd2389i2.pdf for the listing of those who served in WW1Has the stamp of the Tramway Museum Society on the rear of the first page.trams, tramways, pmtt, reports, construction, finances, operations, horse trams, tourist tickets, world war 1, unions

Series of five black and white photographs of the Electrical Control room supervisory panel, that was located in Bouverie St and Queensberry St Carlton known as Carlton Control at the time of the implementation late 1964 .1 - General view with the Press standing around. .2 - View of the operators control desk .3 - ditto with the operator at "work" .4 - The room and map without the chair etc. .5 - ditto but a side view. The MMTB News - 1721.4 - Vol. 1, No. 4 - 20 pages, November - December 1964, with a colour photo of the new Supervisory control room at Carlton on the front cover. Has articles on; chairman's message, tramway band, Carlton Control - Supervisory Centre, safe electrical working, Christmas celebrations, the old power control centre, a obituary for H. H. Bell, Remembrance day. Printed on gloss white paper.Items .4 and .5 are stamped on the rear.trams, tramways, carlton, substation, electrical equipment, electrical switching, carlton control

Report - hand made on very thin paper, almost rice paper, 3 pages + cover note of 2/11/1921 to Mr. Wilcox, General Manager from Mr. C. W. Young and W. A. Savage, Assist Traffic Manager titled "Proposed Flying City Shunt". Report suggests that improved shunting arrangements are needed at Collins and Spencer St due to increased traffic. Notes cars can be shunted in abnormal conditions in 40 seconds. Normal shunting was 60secs it appears. Report gives details of the costs and the shunting times taken to turn cable sets around. The cover note of 2/11/1921, re-submits the report to Mr Dix from a person (can read the signature) from the Fitzroy Power House. Last page was scanned separately as a jpg file. Dated 11/9/1917Has been stamped "Copy" in two places.trams, tramways, cable trams, track, collins st, shunting

.1 - undated letter, titled "Closure of Williamstown train service", advising of the closure of the line, pending a date and redeployment, surplus staff and other employment issues. A similar letter would have been prepared for the Upfield line. .2 - letter dated 6/1/1993 titled "Metropolitan Rail System - Service Alterations and closures" announcing that the Minister for Public Transport, announced the closure of the Newport to Williamstown lines and the Upfield rail line, along with reduction of services on other lines and that a voluntary departure package (termination of employment) is available. Has a detailed list of lines affected and bus replacement on rear. Both signed Normal Walker, Director of Passenger Services .See: https://www.theage.com.au/national/victoria/not-the-end-of-the-line-how-people-power-saved-the-upfield-rail-line-20160602-gp9web.html (accessed 23-11-2020) for background information.trams, tramways, upfield, closure, railways, minister for transport, ptc

Metamec was a manufacturer of domestic clocks in the second half of the 20th century, and was based in Dereham, Norfolk, England. The name "Metamec" is derived from "metal-work and mechanics". The company started as an offshoot of the furniture manufacturers Jentique in about 1941, which made boxes for instruments and bombs during World War II.The first Metamec model was a mains-powered mantle clock numbered "701" (approx. 1947). All clocks produced by Metamec were produced to a high standard, The company declined in the late 1980s and went into receivership in December 1984 and sold to FKI of Halifax, West Yorkshire, who continued to use the name until 1993. Now another company is producing clocks under the Metamec name in Derbyshire England Gladys Reed who used this clock was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin Metamec was a manufacturer of domestic electric clocks in the second half of the 20th century, and was based in Dereham, Norfolk, England Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin.Dressing table brass, electric clock with floral pattern.METAMEC / Made in Englandclocks, metamec ltd., norfolk england, reed gladys, clark judy, brighton, moorabbin, furniture, pioneers, clocks, market gardeners, early settlers, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh,

Early settlers had to clear the land of trees and shrubs to establish and maintain their farms and market gardens. Some settlers worked in the Gippsland region felling timber for transport by bullock wagons to Melbourne. Two-man crosscut saws were primarily important when human power was used. Such a saw would typically be 1 to 4 m (4 to 12 feet) long, and sometimes up to 5 m (16 feet), with a handle at each end. The technique in using a two-man saw involved a sawyer standing at each end and together the sawyers would alternate pulling the saw through the wood. If the kerf -slit- began closing, causing the saw to bind, wedges would be inserted behind the saw blade in order to keep the kerf open.Two-man saws were designed to cut in both directions. Careful tooth design was necessary to clear the sawdust during the cut. This is a typical two-man tree felling saw that was necessary to clear the land when the pioneers were establishing their market gardens and farms in Parish of Moorabbin c1850A long steel blade saw with 2 wood handles c1900tools, saws, axes, early settlers, pioneers, market gardeners, dairy farms, orchards, vineyards, timber mills, bullock wagons, tree felling, timber mills, city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis,

Fordson Henry Ford set up the company Ford and Son in 1917, it later became known as Fordson. Henry had previously tried to interest the directors of the Ford Motor Co in producing agricultural machinery, but when this met with no success he set up the new company to market the tractor he had created. Fordson: Model N 1929-32 Produced at Cork 1932-1945 Produced at Dagenham The Fordson Model N replaced the Fordson Model F. Production of the Model N started in Cork in 1929. Production of the Fordson Model N was transferred from Cork to Dagenham in 1932. The Model N featured a 27 HP engine, standard rear fenders (mudguards), a higher voltage ignition system, and optional pneumatic tires. In 1935 power take-off (PTO) was available as an option on the Model N. Historic - Farm Machinery - TractorSteel Tractor - Orange with black wheels.Fordsonpuffing billy, fordson, tractor

A photo of a large group of teenage boys and men from Big Camp, January 1970. Big camp was for older junior Legatees. One of the men appears to be Sir Rohan Delacombe, the Governor of Victoria and patron of Legacy (fourth from the left centre road). Melbourne Legacy provided camps for junior legatees - the children of deceased servicemen. It started with outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring. Permanent camp buildings were built and with an association with Lord Somers (Governor of Victoria) it was called Somers Camp. The camps gave the children an opportunity of a summer beach holiday with other Legacy children. It came from an envelope with other Big camp photos. The Legacy envelope was marked "P5 Power House" in red pen, and Box 15 in blue pen. The contents will be items 00427 to 00430.A record of Junior Legatee camps.Black and white photo of Legatees and senior boys at Big Camp 1970.Front of photo has text over the photo: "Big Camp Jan___ 1970". On reverse "P5 Legacy / 1970 Big Camp" written in blue pen.somers camp, junior legatee outing, big camp

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

The International Poma at Falls Creek is a 1,219 metre long Pomalift. Pomalifts are named after their inventor, Polish born French manufacturer Jean Pomagalski. The first poma at Falls Creek was called the International because it serviced the area where a F.I.S. (Fédération Internationale de Ski) international race was held in 1960. It was built over the 1968-69 summer and was ready to operate in 1969, but due to a poor snow season, the 'Inter' didn't open to the public until 1970. The author of this article, Wolfgang Lert, was a pioneer of the ski industry in the USA. He was also editor of Western Skiing, forerunner to Ski Magazine, and a founding member of the International Skiing History Association. The company name on the back of this article is Dulmison (Aust) Pty Ltd. This company was founded in c1961 and played an integral role in development of solutions for power supply problems for the Kosciusko State Park Trust and other ski fields.This article is significant because it outlines procedures for the use of an iconic chairlift used on ski fields throughout the world, including the International Poma at Falls Creek, Victoria. A two page article with images explaining how to use a Pomalift, a new addition to the ski fields in Australia.On bottom Page 2: MADE IN AUSTRALIA UNDER LICENCE BY:- DULMISON (AUSTRALIA0 PTY. LIMITEDpoma ski lifts, international poma falls creek

Marshall White is a former Merri-bek resident and artist. He completed a Fine Art diploma at the National Gallery Art School in 1973. After a severe motorcycle accident left him with quadriplegia in 1977, he returned to university, earning a Master in Painting from what is now the Victorian College of the Arts. White is considered a pioneer of digital art in Victoria. He taught art to inmates at Pentridge Prison, which provided him with access to early computers. Using a Commodore Amiga, Marshall pushed the boundaries of digital art. Strip 1 represents an early contribution to what was, at the time, an emergent art form. Inspired by William Blake and Arthur Boyd, White’s work delves into psychological spaces, addressing themes such as the apocalypse and White’s distain of religion. White's work exemplifies resilience and the transformative power of creativity in the face of challenges.Purchased